Musical Characteristics: Kidney Stew is a shuffle blues arrangement
based on a composition by Eddie "Cleanhead" Vinson.
Very playable blues riffs and ensemble figures in the key of B
flat concert are technically easy to perform. The lead trumpet
part ascends to B flat/6 on several occasions, but generally the
brass range and endurance demands are not excessive. There is
an improvised twelve-bar blues solo for third trumpet. Rhythm
section parts do not include detailed voicings for chords or rhythms,
but the harmonic and style demands are in the secondary school
music student vernacular.

Technical Challenges: Traditional shuffle-blues riffs
are orchestrated to support a blues melody in a familiar key for
secondary school students. Some section pitch bends are included
on the melodic statement and brass section players must be able
to produce a loud and short hat accent. No mutes or
woodwind doubles are included. The lead trumpet player must be
able to play with some consistency on notes from F/6 to B flat/6.
Very little independent part writing is included in this composition.
Each instrumental section performs throughout in rhythmic unison.

Improvisational Challenges: This composition is based on a
twelve-bar blues form in B flat concert. The tempo is moderate
and its basic structure will encourage the use of the B flat blues
scale as harmonic material for the solo. The solo section is notated
for third trumpet but could easily be assigned to other ensemble
players. Beginning improvisers will find this an easy form on
which to develop their skills.

Pedagogical Value: Kidney Stew can provide the students with
the opportunity to participate in an authentic blues experience.
The piece can be easily opened up for more soloists, and students
can be encouraged to alter existing background figures. As notated,
the composition is a basic framework to be used for creative development.
Kidney Stew is valuable pedagogical material which can be coordinated
with many historical and contemporary blues recordings.

Characteristics:

(1) well-crafted: Yes: x No:

(2) written idiomatically for all instruments; Yes: x No:

(3) musical interest in all parts; Yes: x No:

(4) technically challenging at an appropriate

level in all parts; Yes: x No:

(5) improvisational challenge at an

appropriate level; Yes: x No:

(6) potential for student musical growth. Yes: x No:

Frey, Lincoln

Old Fashioned Love

Duration: 3'

Level of Difficulty: Medium

Availability of Score and Parts: Composer

Recording: Yes

Musical Characteristics: Old Fashioned Love is an arrangement
of a blues tune in F concert attributed by the arranger to James
P. Johnson. Written at a medium swing tempo of a quarter note
at m.m. 132, the piece features a saxophone soli with brass section
fills and background figures. Improvised solos are included for
trombone, guitar, piano, alto and tenor saxophone, but chord changes
appear in all parts, and solos may be easily assigned to any players.
All ensemble parts are very playable and will not require a great
deal of endurance from the brass players. No special effects are
indicated, although the melody includes one sixteenth note triplet
which appears in most ensemble parts and will need to be rehearsed.
A pleasant and playable blues arrangement for jazz ensemble.

Technical Challenges: The technical challenges in Old Fashioned
Love are minimal for all sections. Rhythm section parts include
only a sketch of the required performance

materials but the style and harmonies are limited in complexity
and will not present great difficulties to the average secondary
school performer.

Improvisational Challenges: The improvisation sections are
based on an extended sixteen bar blues form in F concert. The
harmonic materials necessary are limited and will be within the
range of experience and performance skills of most secondary school
performers.

Pedagogical Value: This traditional blues composition may be
used to teach all students to improvise in an easy key on one
of the many variations of the blues form. The composition may
be easily adapted to various teaching and performance situations
because each performance part includes the chord changes. Excellent
pedagogical material.

Characteristics:

(1) well-crafted; Yes: x No:

(2) written idiomatically for all instruments; Yes: x No:

(3) musical interest in all parts; Yes: x No:

(4) technically challenging at an appropriate

level in all parts; Yes: x No:

(5) improvisational challenge at an

appropriate level; Yes: x No:

(6) potential for student musical growth. Yes: x No:

Grecco, Paul

Yesterdays

Duration: 5'

Level of Difficulty: Medium

Availability of Score and Parts: Composer

Recording: No

Musical Characteristics: Yesterdays is a moderate swing arrangement
based on the Jerome Kern standard tune. The composition includes
improvised solos for tenor saxophone and trumpet and an extended
saxophone soli section. Brass ranges are moderate and will be
playable by secondary school players of average strength and endurance.
Rhythm section parts include specific voicings for guitar and
keyboard. A very playable arrangement of this classic standard
tune.

Technical Challenges: The rhythmic unison saxophone soli will
require well-developed finger dexterity and fluidity of interpretation.
The soli includes some pitch bends for the section to execute
in unison. Almost all ensemble writing in this composition is
in rhythmic unison and will be playable by sections with varying
abilities.

Improvisational Challenges: Sixteen-bar improvised solos are
included for tenor saxophone and trumpet. No repeat signs are
written although the marking Brass backgrounds on cue
implies that the solo section could be extended if desired. The
solo harmonies are quite complex and include many chord alterations.
The speed of harmonic change is moderately fast, with frequent
II-V7 progressions within the framework of the piece.

Pedagogical Value: This arrangement is good pedagogical material
playable by many secondary school ensembles. The technical demands
are moderate and the swing style writing is directly connected
with many recorded big-band compositions. The standard tune upon
which the composition is based has been recorded in various forms
by many jazz artists. A comparison of the varied approaches would
be a valuable pedagogical adjunct to the performance and rehearsal
of this arrangement.

Characteristics:

(1) well-crafted; Yes: x No:

(2) written idiomatically for all instruments; Yes: x No:

(3) musical interest in all parts; Yes: x No:

(4) technically challenging at an appropriate

level in all parts; Yes: x No:

(5) improvisational challenge at an

appropriate level; Yes: x No:

(6) potential for student musical growth. Yes: x No:

Jacobs, Bill

Jumpin at the Woodside

Duration: 4'

Level of Difficulty: Medium

Availability of Score and Parts: Composer

Recording: Yes

Musical Characteristics: This composition is a careful reworking
and simplification of the Count Basie/Charlie Hathaway arrangement
built on a series of classic swing band riffs. Detailed dynamics
indicated throughout the up-tempo swing score add to the pacing
and excitement. Demands on the brass section are moderate although
both trumpets and trombones require plunger mutes (a hand in the
bell can be used to simulate the plunger sound if mutes are unavailable).
Improvised solos are included for tenor saxophone, second trumpet
and first trombone. Carefully notated bass and drum set parts
provide complete notation and performance suggestions. The piano
and guitar parts contain only chord symbols with no voicing or
rhythmic suggestions for student performers.

Technical Challenges: The woodwind parts are idiomatically
written and will be playable by most secondary school jazz ensembles.
The piece should be performed by an ensemble with a well developed
rhythmic sense even though it is generally only moderately demanding.
Brass embouchure demands and endurance challenges are not excessive
but the swing style which is integral to the piece demands accurate
placement of notes and a well developed sense of ensemble. A wide
range of articulations is notated; their correct interpretation
will be more quickly learned through listening to recordings of
this era. Woodwind and brass players must be able to scoop up
to sustained notes and brass sections will operate plunger mutes
to change the timbre of selected notes. There is very little independent
writing of individual parts. The majority of the composition is
based on section or ensemble riffs in rhythmic unison.

Improvisational Challenges: Jumpin at the Woodside includes
improvised solos of forty-two bars for tenor saxophone, thirty-two
bars for second trumpet and eight bars for first trombone. The
structure includes two A sections based on a partial B flat blues
progression, a B section of V7-I progressions, and a return to
the A section material. The tempo is moderately fast but the chord
changes occur quite slowly with many chords sustained for four
bars. The composition is in a key which is familiar and comfortable
to most secondary school students; this will increase the potential
for successful improvisation experiences within the given framework.

Pedagogical Value: Jumpin at the Woodside is a swing-era
classic re-worked, simplified and notated for modern jazz ensembles.
Although this arrangement has been created by a Canadian composer,
the musical materials, form and structure are identical in most
respects to the original American composition. Good pedagogical
value for teaching blues swing band style if used in combination
with listening to recorded examples. Provides opportunities to
work on ensemble unity; balance of riffs with background; dynamic
intensity; musical expression. The fact that only chord symbols
are written for piano and guitar places the piece in a more difficult
ensemble rating; if the piano and guitar players are experienced
in working with chord symbols, the ensemble rating moves into
a less difficult category.

Characteristics:

(1) well-crafted; Yes: x No:

(2) written idiomatically for all instruments; Yes: x No:

(3) musical interest in all parts; Yes: No: x

(4) technically challenging at an appropriate

level in all parts; Yes: x No:

(5) improvisational challenge at an

appropriate level; Yes: x No:

(6) potential for student musical growth. Yes: x No:

Nimmons, Phil

Islands (Atlantic Suite, Second Movement)

Duration: 4'

Level of Difficulty: Medium

Availability of Score and Parts: Composer

Recording: Yes

Musical Characteristics: This slow ballad features soprano
saxophone or clarinet throughout the entire piece. The solo part
includes a notated melody with chord symbols above the staff.
It may be performed with student improvised ornamentation depending
on the abilities of the instrumentalist. Because it is written
in the key of A concert, students will need to be experienced
enough to read parts in multiple sharps. The ensemble parts are
not difficult in terms of brass range and endurance or in woodwind
technical demands. The piano part has complete harmonic and rhythmic
voicings which will assist a student to perform in the correct
jazz style.

Technical Challenges: The piece opens with a four-bar ballad
style trombone soli which needs secure intonation and smooth articulation.
The fourth or bass trombone should be able to produce a pedal
tone A/2 but an A/3 would be a possibility. Brass range demands
are moderate; lead trumpet is written to A/6 concert and lead
trombone to A/5. Trombones require cup mutes; trumpets use harmon
mutes with extended stems. Independent writing for baritone saxophone
requires a secure performer, although the part is not technically
difficult. Some low register baritone saxophone parts involve
substantial decrescendos which require good breath control. A
rubato cadenza is notated for soprano saxophone and piano. Rhythm
section parts are extremely well notated with full voicings and
rhythmic suggestions.

Improvisational Challenges: The composition is structured around
an extended soprano saxophone melodic statement; melody and chord
notation provide two sources of material upon which to base an
improvisation. The cadenza also provides a written melody as well
as chord changes, providing excellent flexibility to accommodate
varying levels of student improvisers.

Musical Characteristics: A slow ballad based on the standard
jazz tune, originally composed as a vocal arrangement, and adapted
by the composer to feature any instrument of the jazz ensemble.
Georgia opens with the solo instrument supported by piano alone
for sixteen bars, then the rhythm section enters, followed by
full ensemble background. There are two bars with high-range trumpet
parts, with optional lower voicings, to make the arrangement playable
at secondary school level. The composition includes an improvised
solo for alto saxophone. The background figures are rhythmically
playable and will not require extensive rehearsal. The ensemble
must have the ability to play soft dynamics and to support the
soloist at all times.

Technical Challenges: The composition is in the key of F concert
and avoids extremes of range for the soloist. The majority of
the ensemble writing consists of chordal background figures with
an occasional contrapuntal counter-melody. A limited number of
bars in the extreme upper register for trumpet provides the option
to choose the lower octave; this device would moderate the endurance
and range demands. The fourth trombone part is written for bass
trombone and will require an instrument and performer responsive
in the low range.

Improvisational Challenges: The opening introduction scored
for piano and a featured melodic instrument includes either improvisation
or a vocally-oriented statement of the tune. The alto saxophone
solo improvisation begins on the harmonies of the AABA song form
but returns to a melodic focus to end the arrangement on the final
A of the form.

Pedagogical Value: Ballad arrangement based on this jazz standard
can be related to many commercially available recordings. Provides
opportunity to explore the historical aspects of the Georgia era.
Flexible arrangement that is moderately demanding on ensemble
and the featured soloist of choice (any instrument). Composition
has good pedagogical value with adaptability to different teaching
situations. Increases awareness of the elements of the ballad
style: slow melody, soft dynamics, long phrases and sustained
chords.

Characteristics:

(1) well-crafted; Yes: x No:

(2) written idiomatically for all instruments; Yes: x No:

(3) musical interest in all parts; Yes: x No:

(4) technically challenging at an appropriate

level in all parts; Yes: x No:

(5) improvisational challenge at an

appropriate level; Yes: x No

(6) potential for student musical growth. Yes: x No:

Phillips, Brigham

Jeffs Blues

Duration: 4' 3"

Level of Difficulty: Medium.

Availability of Score and Parts: Composer.

Recording: No

Musical Characteristics: A medium tempo tune which includes
very attractive background figures in a traditional swing blues
style. The arrangement is structured to feature three improvising
soloists from within the band on a B flat blues progression. Solos
are designated in the score as soloist 1, 2 and 3 and may be assigned
to any players of appropriate ability and interest. Each individual
solo is marked with backgrounds for four choruses, but it would
be possible to split each solo section to give opportunity to
many student improvisers. Background figures include quotations
from Duke Ellingtons C Jam Blues and Things Aint What
They Used to Be. The brass ranges are not extreme, although the
lead trumpet must be able to perform a B flat/6 with consistency.
The tempo is medium fast and the ensemble figures are idiomatic.

Technical Challenges: Endurance and embouchure demands for
the brass section are limited, with sufficient rest periods so
that areas of higher endurance will be approached with rested
muscles. No mutes or doubles are required in any of the ensemble
parts. There are some ensemble fall-off notes that will require
rehearsal and explanation. There is one optional shake notated
in the brass section which could be rehearsed or omitted at the
conductors discretion. Instrumental parts function primarily
in a section block manner with very little independence of individual
parts.

Improvisational Challenges: This composition features either
three or six soloists from within the ensemble performing on a
B flat blues progression. Secondary school improvisation students
frequently feel comfortable improvising in this key and on a progression
at this tempo. The length of the solo sections, the limited scales
necessary for performance and the idiomatic and supportive backgrounds
will make this composition useful for student improvisers in many
secondary school situations.

Pedagogical Value: A traditional blues composition based on
the B flat blues scale. Solo format is adaptable to many combinations
of instruments and with minimal preparation could be a valuable
learning experience for student ensembles. Students will find
it attractive to perform and conductors will find that it is easily
adaptable to many secondary school situations. Valuable for developing
understanding of swing-blues style and for working on special
effects: fall-off notes, shakes, riffs.

Characteristics:

(1) well-crafted; Yes: x No:

(2) written idiomatically for all instruments; Yes: x No:

(3) musical interest in all parts; Yes: x No:

(4) technically challenging at an appropriate

level in all parts; Yes: x No:

(5) improvisational challenge at an

appropriate level; Yes: x No:

(6) potential for student musical growth. Yes: x No:

Staples, David

Late for Dinner

Duration: 6'

Level of Difficulty: Medium

Availability of Score and Parts: Composer

Recording: Yes

Musical Characteristics: Late for Dinner is a contemporary
rock style original composition featuring alto saxophone, written
in a tonal melodic straight eighth style. There is a slow introduction
for the saxophones, with optional flute doubles; the third trumpet
part suggests optional flugelhorn. The rhythm section parts are
very carefully notated and include full voicings and rhythmic
notations for all players. The guitar and extra percussion parts
(bells and triangle) have significant roles in the orchestration.
Improvised solos are included for piano and alto saxophone.

Technical Challenges: Late for Dinner presents moderate technical
challenges for the high school performer. The solo alto saxophone
part requires confident performance but is technically possible.
The ensemble woodwind and brass parts are written primarily in
rhythmic unison; this will enable less experienced performers
to follow strong lead players. Brass ranges in trumpets and trombones
are moderate and provide adequate rest to maintain student embouchure
strength. Rhythm section parts are detailed and include many tasteful
contemporary devices which contribute to the musical effect of
the piece.

Improvisational Challenges: The improvisation sections are
based on a repeated sixteen-bar passage which is played twice
by the alto saxophone, followed by two further repetitions on
piano. The chords change regularly every two bars and the soloist
will need to use a different scale every four bars. The rate of
harmonic change is moderately slow and chord changes are regular
in timing and easy to hear. Improvisation in this framework would
require preparation on the part of a high school soloist but would
present limited problems to an advanced high school performer.

Pedagogical Value: This is a well-crafted contemporary composition
which will enable student performers to focus on style and expression
in music. Technical demands are moderate for all sections. It
provides valuable material for study of modern rock styles and
to focus on balance and pacing in performance. Will be useful
pedagogical material in a wide range of secondary teaching situations.

Characteristics:

(1) well-crafted; Yes: x No:

(2) written idiomatically for all instruments; Yes: x No:

(3) musical interest in all parts; Yes: x No:

(4) technically challenging at an appropriate

level in all parts; Yes: x No:

(5) improvisational challenge at an

appropriate level; Yes: x No:

(6) potential for student musical growth. Yes: x No:

Turner, Brad

Blues for Nat

Duration: 3'

Level of Difficulty: Medium

Availability of Score and Parts: Composer

Recording: No

Musical Characteristics: Blues for Nat is a minor blues composition
that includes some of the gospel related small ensemble sounds
of the Nat Adderley and Cannonball Adderley jazz bands. The composition
features a trumpet and tenor saxophone soli accompanied by full
ensemble backgrounds, a harmonised saxophone section soli, an
open solo section and an ensemble shout chorus. The
piece is based on a repeated twelve-bar blues theme marked at
a moderately fast tempo of half note at m.m. 100. It would be
possible to perform this piece at a slower tempo without significant
loss of the style feel created by the composer. Rhythm section
parts are carefully notated and include specific voicing and rhythmic
cues for student performers.

Technical Challenges: The technical challenges in this composition
are moderate, brass ranges are limited and the parts are playable
by average high school players. The

saxophone soli will require careful rehearsal but includes
primarily eighth-note movement in keys which do not include exceptionally
difficult fingering patterns.

Improvisational Challenges: Blues for Nat includes an open
solo section which can be assigned to any of the players in the
ensemble. The minor blues pattern is a repeated twelve-bar chorus
with ensemble backgrounds on cue for the second time
through each solo. The G minor blues progression uses scale and
fingering patterns that are quite easy to play on most band instruments.

Pedagogical Value: Excellent pedagogical material. Brass ranges
are moderate, providing the potential for performance by many
secondary school ensembles. The performance and rehearsal of this
composition may easily be related to the many minor blues pieces
in this style. The open solo section provides the opportunity
for all players to practise improvisation in rehearsal. Each performance
of the piece could feature a varied selection and number of soloists.